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Workshops cover a variety of styles and levels of instruction on guitar, bass, piano, harmonica and voice, as well as the history of both genres. Evening activities include legendary late-night jams, concerts, and dances. Youth, as well as adults, are welcome to participate. Participants can take advantage of both weeks by attending special events, swapping tunes and songs in jam sessions, and sharing in the fun!

Welcome to Blues and Swing Week ! Our staff includes people who truly love the music and enjoy teaching and sharing it. Our vision is to focus on the roots of these two great musical traditions in a supportive, sharing environment. Our blues dance program puts the music in context. The swing cabaret gives you a chance to perform for your fellow participants in a fun, nightclub atmosphere.

Click any name below to open more details. Click again to close. Joan Fenton has worked as a musician, folklorist, and business woman. She is the recipient of the WC Handy award for keeping the blues alive in education. She produced traditional music shows for 15 years for various radio stations and received two National Endowment for the Arts grants to record traditional musicians. Her work with nonprofits includes serving on the executive board of the Folk Alliance. The NEA National Heritage Fellowship has been bestowed on some of the greatest luminaries in traditional and folk music.

In the traditional blues genre, past winners include some of the most important figures in blues history: Harmonica players Sonny Terry and Elder Roma Wilson are the only other harmonica instrumentalists to receive the honor.

Phil now joins the ranks of his eminent elders, friends and compatriots in the Washington, D. C area traditional Piedmont blues scene to win this distinguished award. He is a versatile traditional harmonica player, continuing the Piedmont blues tradition, a gentle and melodic blues style of the mid-Atlantic region. He plays the diatonic ten-hole harmonica in the country blues style, cupping both hands around the instrument and playing acoustically.

His sound is not shaped by the gear, the microphone or amplifier when performing on stage, instead by his complex syncopated patterns, breath-control and rhythm, stylistic virtuosity and fiery solo runs.

As a teenager living in Washington D. By the time he graduated from high school in , D. With John Cephas as guitarist and primary singer, the duo performed together for 32 years as internationally renowned stars of the country blues, and a staple on blues radio, ever present on the concert and festival circuit — all with the help of National Council for Traditional Arts director Joe Wilson.

They recorded more than a dozen critically acclaimed albums, including on Flying Fish and Alligator Records, winning the prestigious W. They even performed at the White House with B. University of Maryland professor, author, blues historian and producer Dr. Plus, he continues to play an active role on the board of the National Council for Traditional Arts.

Additionally, he performed in the feature film Matewan about the coal mining wars in West Virginia, written and directed by John Sayles. Phil appears in the film and contributed music to the soundtrack. He also appeared in Blues Houseparty , a documentary produced by Eleanor Ellis that captures a wonderful celebration of music and culture that takes place at the home of John Jackson. Phil appears in the film and supplies the voiceover narration.

Letters from Mound Bayou A documentary film about the establishment of a community health center for the rural community of Mound Bayou, Mississippi.

Produced by an activist group in Washington, D. At the beginning of the week, participants will choose a genre for example: Over the course of the next few days, participants will decide on a song and a key, create an arrangement, and get their song ready to perform in front of an audience of fellow participants and instructors.

The band experience is the highlight of the week for many participants. Open to all levels, instruments and vocalists. Kathy has attended Augusta for over 25 years.

She plays a big bass and a little uke. She freelances around DC and plays in most of the same bands as her music and life partner, Marv Reitz. Marv Reitz was warned by his music teacher father not to be a jack of all trades and a master of none. He plays sax, clarinet, guitar, steel guitar, and sings.

Last year marked more 25 years at Augusta and 20 on the faculty. He and his wife share a vast repertoire of music. The direction of this blues bass session will be determined by the participants and their needs.

All aspects of playing blues bass will be covered, including chordal construction and variations of the bar and 8-bar blues, what notes typically are played for them, walking lines and moving between chords, and turnarounds. We will cover the blues scale and how it is used for soloing. Most important for the bassist will be time matters, how the grooves and styles are rhythmically tensioned to create the different feels i.

If you want to start playing blues bass or deepen your groove and understanding of it, this would be the workshop for you. A uniquely versatile musician, Ralph Gordon brings 45 years of musical experience to the bass and cello in the genres of Blues, Swing, Jazz, Klezmer, Folk, Bluegrass, Country, and many others.

When it comes to knowing and holding down the bottom, Ralph is on top!!! This workshop will explore some of the harmonic elements and physical techniques used for playing swing music on the bass to get participants up walking.

Since the right hand is where the different feels and grooves are expressed, the class will take time to learn some different right hand techniques and listen to and experiment with these different techniques while playing standard swing songs. The class will talk about the role of the bass within the swing band rhythm section. The drum instructor, Wes Crawford, along with another instructor or two, will help out during a couple of the sessions so that participants can get a real rhythm section experience!

On the left hand, participants will play through and talk about some basic scales and Ralph will show how to break down chords into arpeggios and then use some of these intervals to make creative and interesting bass lines that will complement a song. Since turnarounds are a main component of swing music, the class will talk about what a turnaround is, how it is used, and will play through some of the common swing turnarounds so that participants will become familiar with them.

This will be a great skill to get comfortable with as participants join in on jam sessions in the evening! The workshop will explore and experiment with all of these concepts using swing tunes that employ chord structures common to many other swing songs:.

Participants should have some level of comfort on their instruments and know at least a few major scales. Knowing how to play a bar blues is helpful but not required.

Upright, electric, and ukulele basses are welcome in this workshop. Some handouts will be made available in advance in PDF form. Playing the Changes Advanced. Playing the Changes Advanced: The workshop will cover some soloing techniques and how to play a solo that actually makes melodic sense.

Bass solos are at their best when they express something about the song over which it is being played and about the personality and heart of the individual player. This process can be a lifelong endeavor, but there are tools and ideas for getting there.

The participants will learn one song per day, examining and playing the chord structure and playing in several different keys. This is an advanced workshop. Participants should be familiar with their instrument, have a good grip on the major scales and some modes, and know how to play when looking at a chord chart.

This workshop will meet period 2 and will provide a historical and cultural framework for the House Party Dance class in the afternoon, but can also complement other music classes participants choose to take.

We will investigate the early dance traditions associated with the blues and how those traditions have evolved into the present. We will discuss our roles as students of the blues in the preservation and evolution of this movement and social history that comes along with it.

Participants should wear comfortable clothing and bring materials for taking notes. Born in Virginia Beach, VA, his dance training began at family gatherings dancing the funk styles of the era. Growing up, he sought out all the learning opportunities available to him, from community centers to parking lots, where young people were teaching each other and building communities around urban dance forms.

Early on, he established himself as a leader and mentor in those communities, serving to educate and guide others. At age 18, Junious embarked on an over year career as a Logistics Professional in the U. Army and later as a Department of Defense contractor. Throughout his time in various international assignments, Junious developed both a military and dance career, eventually rising to positions of leadership and responsibility in both areas.

Department of State Bureau of Educational and Cultural Affairs in association with the Department of Music at the University of North Carolina at Chapel Hill and the Meridian International Center for Cultural Diplomacy, Junious works tirelessly to promote international cultural exchange in underserved communities, conflict prevention and resolution, and entrepreneurial skill building through hip-hop music and dance. A citizen folklorist, Junious also conducts independent research into those cultural traditions whose influence is reflected in urban dance culture.

From ring shouts and acoustic county blues to hip hop, understanding the nature and meaning of these art forms and their influences is what motivates this artist. As a fingerpicker, flat-picker, and slide player, he explored all types of blues — Delta, Piedmont, Texas, gospel — and on harmonica, banjo, and cigar box. Currently Jontavious is finishing his studies at Columbus State University, majoring in sociology. But on most weekends he can be found playing a small house show, up on the main stage, or posting music videos for his friends and fans around the world.

Learn to respond to the rich genres of string band and jug band music with dance, informed by tradition and open to innovation. The goal is to experience dance as a celebration of American blues music and to explore the variety of movement styles that have evolved from the blues including tap dance, house dance, and jazz dance. No specific dance or music experience is required, and participants should come prepared to move and learn through presentations, choreography, improvisation, and sharing.

Comfortable clothes and shoes are recommended, hard-soled shoes or tap shoes are helpful if you have them but not required. Participants should also bring a water bottle and materials for making note of new ideas, steps, or movements.

Department of State Bureau of Educational and Cultural Affairs in association with the Department of Music at the University of North Carolina at Chapel Hill and the Meridian International Center for Cultural Diplomacy, Junious works tirelessly to promote international cultural exchange in underserved communities, conflict prevention and resolution and entrepreneurial skill building through hip-hop music and dance. From ring shouts and acoustic county blues to hip hop, understanding the nature and meaning of these art forms and their influences, is what motivates this artist.

Students should have some familiarity with finger-picking guitar techniques. Raised in eastern North Carolina, Wells learned to play harmonica as a young child and later taught himself to play the guitar as he developed a strong interest in traditional blues and folk music.

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